King's March in C Major

King Whatshisname III is back from the crusades! Glory be given to him!

:P

Now seriously. I've had the main theme in a crappy MIDI file for a long time now, and since I'm brain dead about my operetta for a moment, I thought I'd turn that theme into a proper piece.

Here it is.

My intestine upholds the belief that the score is very dirty. I think I agree with him.

More tea, Mr. Colon?

hey

your music is very look like pc game soundtrack

i really like your chord progression D major tonic to A minor tonic , let me try this chord progression later on

another thing is your score have a bit problem from notation , in bar8-18 At B-tpt , dont you think the notes should be need to group as normal as 6/8 ??

dark

The score does look like it came from your Colon. I have a few orchestrational issues esp. those open voicings of the trumpets which will not sound good. Open voicings in Brass only really work in Trombones because it's a richer sound than trumpets or even horns.

Musicically it's very well done and kept my intrest. I look forward to more of this kind of stuff from you!

Open voicings? How so?

I lack some musical vocabulary/notions, as you can see. :P

Open voicings? How so?

Open voicing as opposed to closed voicing:

In open voicing you skip notes in the chord usually allowing the chord to be filled out over two octaves with four voices.

It's a quirky thing with brass parts. Open voicings don't sound good on Trumpets and Horns because they have a brighter sound and thus fewer lower harmonics in the sound. The Trombones (and Tuba) have a much richer sound because there are more harmonics. So when there are open voicings, the extra harmonics fill out the holes in the voicing and it sounds good. (Ironically, the human voice has a similar phenominon. Chorales and especially cadences are almost always in open voicing.) This is why Trumpets (and horns) are almost always in some form of closed voicing, be it triads or close intervals, rarely more than 5ths stacked, which is often for effect anyway.

But this is just my personal experience and from what I've read on the topic. Point is, I have never seen open voicing in Trumpets and Horns in any master work so I doubt it's a widely used orchestrational technique. In trombones, closed AND open work quite well.

Ohhhhh, thanks!

I'll note that down. :)

Well it is very enjoyable and i like the variety of orchestral colors. I especially enjoyed the pizz in the violins and flutes accompaniment a little after the start of the work. Also enjoyed the brief pause before the coda - just long enough to grad my ear but short enough too avoid sounding cliched.

Well you wanted a comment so here it is. commenntttt.

There's a lot there, you clearly put a lot of work into it, so well done there. I mean, Tokke would spit this much out in a day. Probably not as good though :P

But yeah it's cool, Dunno about some of the rests, there seems to be a lifetimes supply worth of quaver rests.

Also, it reminds me of some later final fantasy tracks.

i hated it :innocent:

I agree with CO that the pizz really works for me...it adds a lot of orchestral color and "magic". This almost sounds like a cross between an Elfman and Williams score, with some Johann Strauss, Jr and (dare I say) Berlioz thrown in for good measure...I like the motif that keeps coming back. The little melodic turn is nice and can lead to interesting things. I agree with JT that some of the brass sounds may not work. Also around the 4 minute mark I felt that the strings were noodling around too much, but that may just be the midi and not the actual feeling. The march parts are actually weaker in my estimation than the more beautiful pizzicato sections...but when you put them tobetehr at the end it really works. I enjoyed listening to it.

Probably my favorite I've heard on this site so far! Definitely sounded like Danny Elfman, particularly charlotte's web. Keep going! You can only get better right? I agree, the pizz definitely gave the perfect touch but I also really enjoyed the crash symbols and the drums especially in measure 284 and the B-flat Clarinet and Bassoon harmonies in measure 19 and the rhythms for violins in measures 39, 41 and 43. Thanks for the score even if it was messy. :)

The pizz. section is definitely the best part of the work.

I have some issues with your orchestration though. Above all you need to mark "a2", "1.", "2." etc in your wind and brass parts.

Some specific issues:

1. You write for low horn ALL THE TIME in places where trombones would be better. The low range of the horn is called "muddy," "blurry," "unsolid" for a reason. I do not think solo low horn will come through well under 3 trumpets in their middle register. With less than professional orchestras, and with a full brass complement at your disposal, I don't really see a reason to write horns below concert A. Lines that extend well below this are properly trombone lines.

2. Orchestrate your crescendos. One horn and a drumroll does not a crescendo make, except on your computer ;)

3. I also don't see much point in writing flutes in the same register as trumpets and bassoon in the same register as trombone, in your big ff tuttis. Brass "displaces" woodwinds at this dynamic level: the latter must be rewritten higher or lower than normal so they can still come through.

m

Argh, you missed me in the shoutbox. (starts bottom and goes to top)

[Today 10:40 PM] EnigmusJ4: cello measure 83, use bass clef

[Today 10:40 PM] EnigmusJ4: for cello use tenor clef instead of treble

[Today 10:39 PM] EnigmusJ4: horn 2 also goes into bass clef later... why? it's in treble clef range. Horn players hate bass clef.

[Today 10:37 PM] EnigmusJ4: P.S. having trumpets that high for straight 8th notes is really annoying.

[Today 10:36 PM] EnigmusJ4: Please write it in treble clef, it's not low.

[Today 10:36 PM] EnigmusJ4: That horn 1 solo at measure nine of your thing is fine range. I thought you meant it was an octave lower than that the way Weca was complaining.

continuing...

measure 104 some instruments in woodwinds and strings are missing the crescendo... they start at FF instead. Why? keep your dynamics simple. You still have horn 2 in bass clef. Treble, please. measure 231 use enharmonic in flute and clarinet. it's a third - it should look like a third, not a second. also... they are simply doubling each other. That's rather boring orchestration for something by the name of Berlioz. measure 265... should trumpet three be tacet? Write on separate staves to avoid confusion when not using all three trumpets. m. 277 you have trumpet 1 above the accepted orchestral range. Sure, maybe a trumpet player can do that, in fact, I know many that can, but don't rely on that. play safe. Maybe suggest using C trumpet instead of Bb.

that low C2 in timpani is going to sound EXTRA muddy. might as well use a bass drum instead. be careful when writing timpani below F2. way to bore the hell out of the bass in an otherwise unison string line at 286. =P measuere 328... why is horn 2 the only fellow playing that? Try giving the horn 1 part to horn 2 instead, have horn 2 double horn 1 at the octave. Now gave what was originally in horn 2 to the trombone section and have them scream it. :w00t:

Open voicings don't sound good on Trumpets and Horns because they have a brighter sound and thus fewer lower harmonics in the sound. The Trombones (and Tuba) have a much richer sound because there are more harmonics.

It has less to do with the sonic nature of the instruments than the range that they play in. Low range MUST have open voicing to avoid sounding muddy and messy. That's your tuba and trombones. Horns can go either way, those it's best to pit them close together. You can obviously have horn 1 and 3 play a high line and horn 2 and 4 play bass-clef range lines if you want... so long as it's exposed in the scoring otherwise it wouldn't come across that effective (better have trombone go low in that case). Trumpets are high and it's usually safe to put the highest range closer together. JT, you're right... just for the wrong reasons. Where did you get the explanation you gave?

Have you played heroes 3 (computer game) ;)?? it would suit the humancity there, the beginning atleast.

i like the horns and snare effect also.

you have the dominant in minor, befor it goes to major, then tonic. thats quite inventive!

nice coda at the end too.

Eventhough i would like a real dominant befor the end!